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COPYRIGHT DEPGSm 



PLATE PRINTING AND 
DIE STAMPING 



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Mr . * John R . Htjghe s 

SOLID ROMAN 



SHADED ROMAN 



Mr. William Smith 

GOTHIC 



Mr. Clyde W. Hartley 

H EAVY GOTH IC 

ittt\ Joseph §"iysbtr 

BLACK OLD ENGLISH 

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ASTOR TEXT 

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SHADED FRENCH 



JOUjXqj cXxvntina and; 
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HOW TO OPERATE A DEPARTMENT 

FOR COPPERPLATE AND STEEL-DIE 

ENGRAVING AND PRINTING 







NEW YORK 
OSWALD PUBLISHING COMPANY 

1917 



Copyright, 1917, by the 
Oswald Publishing Company 



4 1 



(rt 



OCT II 1917 



OSWALD PRESS • NEW YORK 



A476539 



In the preparation of this volume the author was 
kindly assisted in various ways by the following: 
E. A. Wright Jr., of the E. A. Wright Bank Note 
Company, Philadelphia ; H. S. Hewston, of C. R. Car- 
ver Company, Philadelphia ; Adam Pietz, Philadel- 
phia ; William W. Blaisse, of the Keating Company, 
Philadelphia ; Daniel Reardon, of William H. Hoskins 
Company, Philadelphia ; Engravers' and Printers' 
Machinery Company, Sag Harbor, N. Y. ; Modern 
Die and Plate Press Manufacturing Company, Belle- 
ville, 111. 



y^Qtitents 



Introduction 1 

Elaborate and intricate borders — How the plate is 
printed — How die stamping is produced — Printing 
from the die — Copper for limited quantities. 

Equipment 7 

Use of engraving machines — Presses and plates — Tools, 
inks and other accessories. 



Engraving 11 

Shaded effects by ruling and etching — Lathe and roll 
work — The master engraving plate — What the machine 
looks like — Uses of the engraving machine — Special 
forms and stock dies — Correcting a plate. 

Printing 19 

Nickel-facing the plate — Preparing for printing — De- 
tails of make-ready — How the plate is inked — Printing 
from steel plates — Steel-die stamping — The stamping 
press — Making the counterdie — Use of the counterdie — 
How to remedy defects — Inking and wiping — Stamp- 
ing with metallic inks — Retouching and slipsheeting — 
Operation of power presses — Details of operation — 
The power press — Guides and inks. 

Styles 38 

Kinds of lettering — Good taste and common sense. 



Selling 44 

The salesroom — The salesman's work — Showing speci- 
mens — Industrial exhibits — Newspaper advertising — 
The right kind of publicity. 

Prices 51 

The cost of engraving — Plate printing a slow process — 
Retail prices of visiting cards — Prices of visiting cards 
— Commercial work — Prices for engraving — Prices for 
printing — Hand -press embossing. 

Imitations 60 

Details of typographic printing — Imitating die stamp- 
ing — Types and make-ready — Close imitations. 

Miscellaneous 65 

Process engraving on steel — Stock blanks and large 
orders — Engraving for the trade. 



<Jntiaducii 



taw 

While the type-printing industry continues to grow 
and expand remarkably in every section of the coun- 
try, the engraving and plate-printing business is also 
increasing wonderfully. On every side there is a much 
greater demand for various specialties of both social 
and commercial engraving. The public in general has 
come to appreciate the excellent qualities of engraved 
printing, whereas a few decades ago only the so-called 
"exclusive set" were large buyers of engraving, with 
few exceptions. Business concerns and professional 
people are now heavy consumers of engraved station- 
ery, for they have recognized the fact that there is 
selling value in fine engraved printing. 

STEEL-PLATE ENGRAVING AND PRINTING 

Steel-plate engraving is done for the finest grades 
of business and social work, such as bank notes, bonds, 
certificates, diplomas, charters, illustrated designs 
for calendar backs, letterheads, noteheads, billheads, 
cards, announcements, and so forth. The steel engrav- 
ing is sharp, and after the plates have been hardened 
they may be used for very long runs before showing 

1 



2 Elaborate and intricate borders 

wear. A steel-engraved plate for a letter heading, for 
instance, will give one hundred thousand impressions 
and more, provided the presswork is done right. 

Practically all of the lettering on a steel plate is en- 
graved by hand. The shading of characters, cloud 
effects, tints, etc., are done mechanically on what is 
called a ruling machine. 

Elaborate and intricate borders for bank notes, 
bonds, certificates, etc., are also made mechanically. 
That is, the designs are first made intaglio and are 
afterwards transferred in relief form to small steel 
cylinders called "rolls." These rolls are then hard- 
ened and are placed on a special machine where they 
stamp continuous border designs, etc., in portions of 
the steel plates to be printed from. Duplicate plates 
can be made with the aid of the rolls. Obviously, these 
steel rolls are very expensive, and are made only by 
the larger engraving concerns for special use. The 
smaller engraver can send to one of the larger firms 
and have borders, tint blocks, etc., made from certain 
stock rolls. It should be mentioned that the machines 
used in the making of the rolls are very costly, and 
that they are used only infrequently. The purpose of 
the rolls is one of accuracy rather than economy in 
engraving. It would be impossible to engrave by hand 
a continuous intricate border, for example, which 



How the plate is printed 3 

would be absolutely uniform on all sides. But the rolls 
make it possible to produce such borders perfectly uni- 
form as they "punch in" the pattern continuously. Of 
course the rolls will carry and will apply individual 
designs, such as an eagle, a portrait, etc. ; but such de- 
signs are made by other processes. 

The major portion of all fine plate printing is done 
by hand on presses built especially for the purpose. 
The press is usually a crude affair, and its appearance 
is anything but graceful ; yet this machine can turn 
out beautifully engraved printing, slowly but well. 
Bank notes, large diplomas and certificates, and gov- 
ernment paper money are printed on machines of this 
character. 

The operator inks the plate with a small hand roller 
which forces the color down into the incisions on the 
plate. Experience tells just how much ink should be 
applied to each engraving. 

After the plate has been carefully inked the opera- 
tor takes a wad of cheesecloth and with it wipes off all 
superfluous color from the surface of the plate, allow- 
ing the ink to remain in the crevices. 

The operator then lays the palm of his hand in a 
box of whiting and polishes the plate with the hand 
containing the whiting. Some of the powder falls into 
the incisions, but this does no harm in the printing. 



4 How die stamping is produced 

Plates of smaller sizes are ordinarily glued to the 
"plank" or platen of the press, and points are marked 
on the plate for positioning the stock. Plates of larger 
size are frequently set upon the platen loose. The stock 
is laid carefully upon the inked plate ; the operator 
pulls the lever or turns the flywheel, and the sheet and 
engraved plate pass underneath the "D" roller, around 
which has been placed the "rigging" (or backing). 
This concludes the printing operation. 

STEEL-DIE STAMPING AND EMBOSSING 

Monograms, seals, headings and designs for menus, 
business cards, stationery forms, etc., come under the 
title of steel-die stamping and embossing. The engrav- 
ing is sunk extra deep in small steel blocks of about 
half an inch in thickness. The work is done either in 
colors, gold, or other bronzes. By this process greet- 
ing cards, menu cards, illustrations and special de- 
signs are frequently illuminated in several different 
colors and bronze. When the form is to be done in a 
number of colors, a separate die must be cut for each 
color, of course, and the work must register perfectly. 

This class of work is executed on a stamping press 
instead of on a roller press. A die-stamping press is 
altogether different from a plate-printing press. The 
stamping press is operated by means of a lever which 



Printing from the die 5 

acts on vertical screws, giving a hammer-like impres- 
sion, while the plate-printing press has a D-shaped 
roller which gives a rotary impression. The majority 
of stamping machines used throughout the country are 
operated by hand levers, although there are numerous 
power die presses in successful operation. 

A brush is used instead of a roller for steel-die em- 
bossing, as the crevices to be inked in an embossing 
die are deeper than in a steel plate. Thus the die is 
"painted" over with the color or bronze selected. 

The die is held firmly in a removable holder called 
a "chuck." After each inking the operator takes the 
chuck holding the die in his hand and wipes the face 
of the die across a pad of paper. This action removes 
all superfluous ink or bronze. 

The chuck and die are slipped into position on the 
stamping press. Underneath the inked die is a counter 
(or "male") die made of cardboard. The sheet to be 
printed is laid in proper position over the counterdie ; 
the operator pulls the lever, and this forces the inked 
"female" die down over the stock and counterdie, 
printing and embossing the design with one stroke. 

COPPERPLATE ENGRAVING AND PRINTING 

Copper being softer to engrave upon than steel, and 
thus easier to work on, copper plates are used for 



6 Copper for limited quantities 

short runs of work, such as calling cards, wedding an- 
nouncements, invitations, etc. There is no process by 
which copper plates can be hardened, and the fine lines 
of the engraving quickly wear away. Nevertheless, 
copper plates will produce excellent work up to their 
limited number of impressions, which would be about 
two thousand. Steel plates can be used for runs longer 
than two thousand ; but obviously visiting cards, wed- 
ding invitations and other social work are usually 
printed in small quantities, and copper plates serve 
well enough for the purpose. It costs a great deal 
more to cut a steel plate than it does to engrave a cop- 
per plate. 

Copperplate printing is produced in practically the 
same way as is steel-plate printing, on plate presses 
operated by hand power. For every impression the 
plate must be inked, wiped and polished by hand. 



&aaln-me.nt 

To make a proper start in the business, the engraving 
and plate-printing department should be placed in 
charge of an expert engraver who has a knowledge of 
presswork as well as engraving. The mechanical equip- 
ment of a small engraving plant should include: 

One hand stamping press ; 

One plate printing press ; 

One set of engravers' tools; 

Stock of inks and bronzes ; 

Whiting, wiping pads, white tissue, etc. 

With such an equipment in charge of an expert en- 
graver it should be possible to handle all of the ordi- 
nary small commercial and social work which would 
come to the average engraving house. 

Power presses could be added to the department if 
the business warranted it. It would not be desirable to 
install a power press in the beginning, as such a ma- 
chine is expensive to purchase and would necessitate a 
great deal of work, especially long runs, to keep it in 
continuous operation. 

There are several automatic die and plate presses 
on the market which have proved very successful. These 

7 



8 Use of engraving machines 

machines automatically ink and wipe the plates and 
dies, the feeding being done by hand. They will pro- 
duce on an average of from six thousand to eight thou- 
sand impressions during an ordinary working day. In 
the larger plants these machines are used for the pro- 
duction of illuminated greeting cards, stationery, bus- 
iness cards, letterheads, and other work of this class 
having long runs, and other work which it is not prac- 
tical to do on hand presses. 

Several engraving machines are now on the market, 
and are used in sections where engravers are scarce. 
It should be understood that the engraving machine 
does not do the entire engraving on a plate, but that 
it outlines patterns for the engraver to finish by hand. 

While it is recommended that an expert engraver be 
employed to manage the affairs of a new shop, it would 
be possible for an enterprising layman to manage a 
new plant with capable help, without first employing 
an expert engraver. In such an instance the plan would 
be to have all plates engraved by some outside concern. 
An expert engraver is an artist, and therefore is a 
high-salaried man, and it would require plenty of good 
work to keep him profitably employed. There are a 
number of reliable engraving concerns in each of the 
larger cities, and any of these is capable of making 
steel and copper plates on special order for the printer 



Presses and plates 9 

or stationer. Later on, as the amount of business would 
allow for it, a professional engraver could be engaged, 
for there are many advantages in having a complete 
engraving plant absolutely independent of outside as- 
sistance. 

So far as the presswork of an engraving department 
is concerned, a bright apprentice could soon handle 
this part of the business. This does not mean that the 
presswork is easy to learn, for it has its intricacies and 
difficulties like all other industrial arts. Nevertheless, 
the intelligent beginner could readily handle the press- 
work, while it would be impossible for him to do en- 
graving without first having served as an apprentice 
under the instruction of experts. Manufacturers of the 
stamping and plate presses will give instruction in the 
operation of their machines to purchasers, and this in- 
struction would be of valuable help to the beginner. 

As all steel plates and dies should be hardened to 
preserve their fine lines, a complete engraving plant 
would embrace a hardening furnace, several of which 
are on the market. This work, however, could be done 
by a trade-engraving concern. 

Copper plates, steel plates and steel dies, in a full 
range of sizes, and of standard heights, finished and 
ready to be engraved upon, can be bought from the 
regular engravers' supply houses. 



10 Tools, inks and other accessories 

A complete set of engravers' tools is not expensive, 
and they may be bought singly or in full sets from the 
supply dealers, although the journeyman usually has 
his own set of tools. 

Plate-printing and embossing inks, varnishes, dri- 
ers, etc., are entirely different from the inks, etc., used 
in type printing. There are a number of reliable manu- 
facturers who supply these materials ready for use. 

Die-wiping papers are being made especially for the 
purpose by leading paper manufacturers. The wiping 
papers are carried in stock by the dealers in the cor- 
rect range of sizes. 

White tissue paper, used to "slipsheet" all engraved 
work to be delivered to the buyer, can be bought at 
any good paper or supply house. 

Other accessories, such as wax, glue, felt, blankets, 
sheeting for die stamping, make-ready knives, inking 
rollers, sticking soap, tinsel, chemicals, etc., can be 
bought at any well-stocked supply house. 

All things considered, it does not involve a large sum 
of money to start an engraving and plate-printing de- 
partment. A few hundred dollars invested in the right 
styles of machines and accessories will equip a small 
plant to produce a general line of work. 



& 



Dnaiastina 

For the information of those who may not be familiar 
with the art of engraving steel and copper plates, the 
following brief explanation is offered : 

First, the original design to be engraved is minutely 
sketched in black or colors, as the case may be. For 
regular lettering there are "stock" patterns, or painted 
cards, containing complete alphabets, although many 
expert engravers can cut hand-lettering rapidly, with- 
out the aid of patterns, directly upon the plates. 

Second, a sheet of gelatin is laid over the design, or 
lettering, to be engraved, and with a steel point the 
engraver traces the subject, "scratching," so to speak, 
a duplicate of the design upon the gelatin. 

Third, the gelatin sheet is powdered with vermilion, 
which adheres to the portions scratched by the tool. 

Fourth, the face of the blank steel or copper plate 
is waxed, and the gelatin sheet is laid upon the surface 
of the plate in reversed position, which of course trans- 
fers the designing "backwards." The back of the gela- 
tin is then rubbed with a flat tool which transfers the 
vermilion pattern to the waxed plate, thus forming a 
ground, or pattern, for the engraving. 

11 



12 Shaded effects by ruling and etching 

Fifth, portions of the plate which are not to be 
etched are touched up with a substance which is acid- 
proof. 

Sixth, acid is now applied to the plate, which "bites" 
out the heavier marks formed by the vermilion ground. 
The depth of the "biting" depends upon the length of 
time the acid is allowed to work. 

Seventh, all of the fine engraving is then completed 
by handwork with a graver. If larger letters, etc., are 
to be shaded, or if tints are to be added, this is done 
on a ruling machine, an instrument containing a dia- 
mond point which traces delicate lines of various tones. 
This is the machine used to produce those beautiful 
"cloud" and "shadow" effects so noticeable on large 
engraved calendar backs, business letterheads, certifi- 
cates and the like. When the lines traced by the ruling 
machine are close together, there is a dark-gray tone ; 
when the lines are farther apart, the gray is lighter. 
Crossing the lines gives a fine dot effect, and so forth. 
The ruling machine does not engrave, and etching is 
necessary to finish the work. 

Eighth, if the plate or die is of steel, it should be 
casehardened. This is done by placing the steel in a 
cyanide bath. It requires about fifteen minutes to case- 
harden the die or plate, and this action will preserve 
all the fine lines of the engraving. There are several 



Lathe and roll work 13 

hardening furnaces upon the market built expressly 
for the purpose. 

There is no process by which copper plates as a 
whole can be hardened, but they can be steel-faced or 
nickel-plated. 

THE GEOMETRICAL LATHE 

These machines can be found in only the larger en- 
graving plants. They are used principally for cutting 
special designs upon plates, which designs are after- 
wards transferred in relief form to small steel cylin- 
ders termed "rolls." For example, the rolls are utilized 
for pressing original and continuous borders for bank 
notes, bonds, certificates, etc., into regular steel plates. 

The design to be engraved in the plate is cut in sharp 
relief upon the surface of the roll. With the aid of 
another machine the roll presses its characters into the 
soft steel plate, which is subsequently hardened. In the 
cases of continuous borders, and designs that are to 
be duplicated on a steel plate in several places, the 
advantages of the rolls are apparent. The work of the 
lathe is original and absolutely accurate, and in a 
great measure it prevents the counterfeiting of paper 
money. The pantograph instrument is also used in con- 
nection with making designs for steel plates. 

Engravers owning geometrical lathes will attend to 



14 The master engraving plate 

orders from the smaller engraving establishments for 
certain kinds of lathe and roll work. The smaller en- 
graver can send to the owners of lathes and rolls and 
have borders, etc., added to partly engraved plates. 

A geometrical lathe is a very valuable machine, and 
only an expert is capable of operating it efficiently. 
The lathe is used only on rare occasions. In even the 
larger plants the lathe is at intervals idle for more 
than a year. The original work accomplished by the 
geometrical lathe for bank notes and certificates, for 
example, could not be duplicated by handwork. 

It should be mentioned that rolls containing designs 
in relief of ornaments, figures, tint backgrounds, etc., 
are also made for special purposes. 

ENGRAVING MACHINES 

There are several so-called engraving machines that 
are very efficient for outlining lettering and other or- 
dinary work on steel and copper plates. 

For lettering, the engraving machine works from a 
master plate which contains a complete alphabet of 
the lettering selected. The various characters of the 
alphabet have been stamped intaglio in the master 
plate. This plate is used as a pattern, instead of mak- 
ing a gelatin pattern. The characters on the master 
plate are large, and the engraving machine can be so 



What the machine looks like 



15 



adjusted that the letters may be reduced to any 
smaller size desired when transferred to the steel or 




An engraving machine 

copper plate. An individual master plate is essential 
for each style of lettering. 



16 Uses of the engraving machine 

After the engraving machine has outlined with a 
diamond point the pattern on the steel or copper plate, 
the plate is engraved by hand, or is treated and given 
the acid "bite" the same as though a vermilion ground 
had been applied. All of the fine engraving must still 
be done by hand ; nevertheless, the engraving machine 
will save considerable time in any plant where there is 
a great deal of lettering to do. It should be understood 
that the machine will outline large lettering as well as 
small. Expanded or condensed lettering can also be 
done. From one of the master plates lettering can be 
done in a full range of sizes. The engraving machine 
will also do work similar to that of a ruling machine. 



STEEL-DIE ENGRAVING 



Regular engraving on steel dies is done in the same 
manner as engraving on steel and copper plates. The 
engraving is deeper, however, as both printing and em- 
bossing are produced from steel dies. 

The designs are made on gelatin sheets, and are 
transferred to the face of the dies the same as for steel 
and copper plates. Certain work can be outlined on 
the dies by the engraving machine. 

Figure dies — those containing embossed reproduc- 
tions of faces and forms — are engraved with the aid 
of a special machine. The model for the face or figure 



Special forms and stock dies 17 

is first sculptured and approved. A reduction of the 
design is then sunk in the die. Some art engravers spe- 
cialize in figure die work, and heads of noted person- 
ages, such as Washington and Lincoln, are carried in 
stock. Other art engravers make a specialty of heral- 
dic designing, and are experts on the correct forms of 
crests, coats of arms, monograms, etc. Still other en- 
gravers specialize on bookplates, steel process color 
plates, etc. ; and it is the custom for the ordinary en- 
gravers having orders for heraldic designs and other 
special engraving to give the work to such experts. 

Steel dies for illuminated designs on menus, cards, 
program covers, greeting cards, monograms and gen- 
eral commercial lines are all engraved by hand from 
original sketches. These sketches are painted in rich 
colors by skilled artists, and gelatin patterns are then 
made. A separate die is cut for each color, and of 
course the register of each die must be exact. 

Stock dies of one-letter and two-letter monograms 
are obtainable and may be found useful in doing a 
general run of social stationery where the customers 
do not wish to buy original dies. 

CORRECTIONS ON COPPER PLATES 

On numerous occasions it is necessary to make cor- 
rections in the engraved matter on used copper plates. 



18 Correcting a plate 

Perhaps a date line is to be changed for that of some 
other; a street address is to be replaced by another 
on account of the customer's moving, and so forth. 

In such instances the wording to be corrected is 
scraped from the surface of the plate, and the plate is 
then pounded up from the back. After all of the en- 
graving in the spot has been eliminated through the 
scraping and hammering up, the place is leveled and 
polished. Afterwards the new engraving is applied. 
Sometimes a worn copper plate can be re-engraved. 

It is also possible to make alterations in the inscrip- 
tions on steel plates and steel dies. The latter, how- 
ever, must be drilled out on the back, and in such cases 
special machine work is essential. 

SCREEN FOR NEUTRALIZING LIGHT 

The engraver works in front of and facing a win- 
dow, usually under a north light. Over his head, and 
running to the sill of the window, on an angle of about 
forty-five degrees, is a screen covered with white linen, 
or artists' cloth. This screen serves to neutralize the 
light, so that sunlight is not too bright nor cloudy at- 
mosphere too dark. 



&i 



1 1 nit no 

Although the hand steel- 'and copper-plate printing 
presses in general use are of ancient design, and are 
anj'thing but beautiful in appearance, it is a fact that 
these hand machines, under the direction of efficient 
operators, are producing the finest engraved printing. 
For many years hand presses were in service in the 
Bureau of Engraving and Printing at Washington, 
and the quality of Uncle Sam's engraving and printing 
is well known. 

For some time to come hand plate and die presses 
will be in general commercial use throughout the world, 
therefore it would seem well to devote some space to a 
few practical hints concerning the operation of the 
hand machines. It should be understood that the hints 
offered are for the apprentice, or beginner. 

COPPERPLATE PRESSWORK 

As an aid in printing properly, the edges of the face 
of every plate should be slightly beveled or rounded. 
While the majority of plates that come to the press 
operator have their edges rounded, some plates not 
having this treatment are received. The operator will 

19 



20 Nickel-facing the plate 

save time by having at least the sharp edges of such 
plates smoothed down with a fine file or emery cloth. 
When there is to be an extra-long run on a copper 




Steelplate or copperplate printing press 



plate, it is a good plan to have it steel-faced or nickel- 
plated ; this facing will lessen the wear on the plate, 
yet it will not fill up the fine hair lines of the engraving 
in the least. Experts claim that as many as five thou- 
sand perfect impressions can be obtained from a faced 



Preparing for printing 21 

copper plate, and that a plate not faced will not ordi- 
narily last for more than two thousand impressions. 



MAKE-HEADY 



Most important of all is to have the "D" roller ad- 
justed so that the impression will be uniformly even. 
If the "D" roller is lower at one end than at the other, 
sheets are likely to move slightly from their position 
on the plate during the printing operation. Blurring 
in the printing is often caused by the "D" roller not 
being adjusted accurately. 

Have the "rigging" (or tympan) around the "D" 
roller tight and smooth. Wrinkles and "bellies" in the 
rigging have a great deal to do Avith slurring in print- 
ing, and they lessen the effects of good make-ready. 

Considerable make-ready is not essential for short- 
run orders such as visiting cards, at-home cards, wed- 
ding invitations, business cards, etc. The "spotting 
up" is done in this way : Two impressions are pulled 
on manila or kid-finished note paper. From one sheet 
all of the printed lines are cut out with a make-ready 
knife, and the cut-out pieces are then pasted in true 
position over the printed characters on the second 
sheet. This second sheet is then pasted in back of the 
copper plate, in such a position that the underlays 
will be directly under each of the engraved lines. This 



22 Details of make-ready 

make-ready will cause the intaglio places in the plate 
to print more distinctly and easily than otherwise. 

After the underlays have been applied to the back 
of the plate, a third impression is taken on a sheet of 
stock of a weight and texture somewhat like that to be 
printed for the order. If any weak spots show on this 
third sheet, they are "spotted up" with small pieces of 
paper on the make-ready sheet in back of the plate. If 
the plate is of good workmanship, and fairly even, but 
little of this secondary spotting up will be necessary. 

In cases of copper plates which contain much fine 
detail work, flourishing and the like, delicate and intri- 
cate patching will often be required before the make- 
ready is complete. Frequently such patching up is 
done with very thin paper to obtain certain results. 
A small piece of french-folio in the right place will ac- 
complish wonders, but there is such a thing as putting 
on too much make-ready, which would be worse than 
having no patching at all. The right idea is to apply 
just a little at a time until the desired results are ob- 
tained. Practice and experience will teach the careful 
operator the correct principles of make-ready. 

The plate is now laid in position on the "plank" (or 
platen) of the press. The best position for a plate, of 
course, is about the center of the plank. On short runs 
it is not necessary to glue the plate in position. 



How the plate is inked 23 

As a copper plate is usually of slightly larger sur- 
face than the size of the stock to be printed, the gage 
marks for positioning the stock must be made on the 
surface of the copper plate. These guide marks are 
made merely by punching three small "holes" with a 
sharp-pointed tool. The feeding is done by laying the 
stock over the plate, using the points for guide marks. 

INKING, WIPING AND POLISHING 

The plate is inked with a small hand roller made es- 
pecially for plate printing. The roller is soft, and as 
it is passed vigorously over the surface of the plate the 
ink is deposited in all of the engraved crevices. Before 
the first inking, pass a soft, clean, dry brush over the 
plate to clear it of any small "hairs" of metal. 

After the plate has been inked, take a small "ball" 
of cheesecloth and with it wipe the face of the plate of 
all color. The wiping is done rapidly but lightly, so 
that the ink is removed only from the surface of the 
plate. By gradually changing the foldings of the wip- 
ing cloth it may be made to serve for numerous wipings. 

On the right-hand side of the press is an extension 
table containing the inking apparatus and a box of 
whiting. After the plate has been wiped the operator 
lays his hand in the box of whiting, then with the palm, 
covered with the whiting, he polishes the plate surface, 



24 Printing from steel plates 

freeing it of any ink stain possibly remaining after the 
wiping. To insure clean printing, all copper (as well 
as steel) plates must be polished with the whiting. 

Now the sheet to be printed is laid in position on the 
plate, and the whole is passed under the "D" roller, 
completing the printing operation. 

STEEL-PLATE PRESSWORK 

This is done in practically the same manner as cop- 
perplate printing, on the same kind of machines hav- 
ing a "D" roller, only some of the presses used for 
steel-plate printing are sufficiently large and powerful 
to take a plate up to forty-five inches wide. 

Making ready on steel plates is more intricate and 
tedious than on copper plates for the following rea- 
sons : Steel plates are usually larger and thicker ; they 
frequently contain fine shadings, pictorial effects, deli- 
cate line work, ornamentation, etc. All of these fea- 
tures must be cared for expertly in the make-ready. 
The patching up is done on the back of the steel plates 
with heavy paper, and even with cardboard ; and, re- 
markable as it may seem, the proper patching will 
work wonderful effects, even through a thick, heavy 
steel plate. A large plate will print slightly "hollow" 
in the center, and this can be remedied by building up 
on the back with graduated ovals of paper. 



Steel-die stamping 25 

When a steel plate contains considerable fine ruling, 
exceedingly beautiful printing can be obtained by hav- 
ing the stock dampened. This procedure is very ad- 
vantageous for diplomas, certificates, and other work, 
printed on parchment or a heavy bond paper. 

STEEL-DIE PRESSWORK 

Steel-die stamping and embossing are done on both 
hand and power stamping presses, although the major 
portion of die work is being produced on hand ma- 
chines. It should be understood that a stamping press 
is altogether different from a plate-printing press. 
The plate-printing machines have a "D" roller which 
gives a rotar}^ impression, while the stamping machines 
are operated by levers which act upon vertical screws 
giving a hammerlike impression. 

The steel dies can be worked from the bottom (face 
up) or from the top (face down), as preferred. The 
majority of pressmen seem to prefer the top position 
for the die. 

The die is held in place by a small metal holder 
called a "chuck." This chuck is removable from the 
machine, being taken out by the operator after each 
impression for re-inking and wiping. 

The finest quality of embossing for business and 
social purposes is done on the hand stamping presses. 



26 The stamping press 

Illuminated designs for monograms, coats of arms, 
menu headings, business cards, programs, etc., are all 
produced on hand machines, and the registering of the 
various colorings is absolutely accurate. But it should 




Steel-die stamping press 

be understood that a trained operator is necessary to 
produce such artwork successfully. A first-class make- 
ready is essential for each good die-stamping job. 

MAKING THE COUNTEltDIE 

The condition of the counter (or "male") die has a 
great deal to do with the success of printing and em- 
bossing. The counter must be firm enough to force the 
stock into the intaglio places of the steel die, and yet 
the counter must be to a certain extent resilient. 



Making the counterdie 27 

Man} 7 pressmen use ordinary strawboard for the 
foundation of the counter, covering this with a piece 
of bristol board, trimming, and then covering all with 
a piece of rubber sheeting. Such a counter is good 
enough for an ordinary job, but for a long run of par- 
ticular printing and embossing the counter building 
described in the following paragraphs will be found to 
accomplish the best results. 

The foundation is made of medium-weight tar board. 
This should be of about the full size of the die, and 
should be glued firmly to the counter-block. Fish glue, 
or elastic glue, will do better than other pastes for 
this purpose. 

Over the tar board is then glued a piece of wedding 
bristol, or any variety of stock having the soft kid 
finish. The counter is now struck a number of times 
with the steel (or "female") die, bringing out the sub- 
ject in distinct relief. The detail is worked up on 
the counterdie by slow, gradual blows, rather than by 
rapid and powerful blows. After a dozen or so impres- 
sions have been taken on the counter, if any weak or 
low places show in the relief, these are "spotted up" 
with small pieces of soft paper, taking care not to use 
too much glue or paste. 

The details of the counterdie having been made sharp 
and distinct, the steel die is inked and wiped, and an 



28 Use of the counterdie 

impression is taken in color. Then with a sharp knife 
the wedding bristol is trimmed away, cutting close to 
the embossed places. The trimming should be done on 
a bevel so that the descent to the tar-board base Avill 
not be abrupt. Now with a piece of emery paper the 
beveled portions are smoothed nicely, so that no rough 
countermarks will show in the printing. 

The counter is next completely covered with a top 
sheet of soft stock such as kid-finished note paper, ap- 
plying just enough glue or paste to cause the top sheet 
to adhere firmly. 

Over all is placed a piece of rubber sheeting, leather, 
or oilcloth of the kind used in the average engraving 
plant. Adjust the pressure of the press to suit the 
weight of the stock to be printed, and the stamping is 
then ready to proceed with. 

In the cases of extra-deep dies, heavier counterdies 
are essential. These are made the same as is the coun- 
terdie described in the foregoing, with the exception 
that several layers of the wedding bristol are applied. 
As each layer is pounded up and the flat parts cut 
away, another layer is put on, and so on until the male 
die is perfect in all details. For a deeply sunken die, a 
counter of three or four plies is better than a counter 
made of a single piece of heavy cardboard. 

When it is desired that no countermarks whatever 



Hoic to remedy defects 29 

shall show on the back of stock to be printed and em- 
bossed, instead of trimming the wedding bristol close 
to the embossed places, trim within a few "hairs" of 
the edges of the die (on all sides), and then bevel the 
sharp edges of the counterdie. Afterwards smooth the 
edges nicely with emery paper. For this kind of coun- 
ter expert pressmen prefer black English moleskin for 
the covering instead of the ordinary rubber sheeting. 

Some pressmen make the foundation for the coun- 
terdie of mat board, or bookbinders' board. Some also 
make it of heavy leather. Any of these materials will 
produce good results if the work is done carefully. 

Should the ink squirt, or "spit," as the first sheets 
of the stock are printed, something is wrong with the 
counterdie. It may be that the trimming has been done 
too close to the embossing, thus permitting the ink to 
squeeze out of the die under pressure ; or it may be 
that the relief of the counter is too high. 

To eliminate squirting, first raise the top sheeting 
and inspect the face of the counterdie underneath. If 
the detail is broken on account of trimming too close, 
patch up the broken places with pieces of kid-finished 
paper, or tear off the top layer of cardboard, replac- 
ing it with another. Work up the detail with the steel 
die again, and trim carefully, leaving a bevel. 

If no broken places are revealed, it is evident that 



30 Inking and wiping 

the "spitting" is caused by the male die being too 
high. Reduce the height of the detail in relief by rub- 
bing over it with fine emery paper. Replace the top 
sheeting and the trouble will no doubt cease. 

INKING AND WIPING THE DIES 

On hand stamping presses the dies must be removed 
for re-inking and wiping after every impression. Each 
time the die must be replaced in its position on the 
press carefully, else it would not register with the 
counterdie, and the latter would be crushed. 

The color is applied with a brush, the intaglio places 
being painted over so that all are covered with the ink. 
The operator must become proficient in applying the 
right amount of color for the occasion. The die must 
not be "filled up," and yet all of the hollows are to be 
perfectly covered. A little patience and practice will 
quickl} T overcome any difficulties in this direction. 

After the die has been inked the face of it is wiped 
across a pad of paper. In some plants ordinary old 
newspapers are utilized for wiping dies, although the 
standard wiping paper is better for the purpose on 
account of its texture, and because it is clean. 

Comparatively few engravers mix their own colors 
in these days, as all varieties of plate-printing ink, 
ready for use, can be bought economically from the 



Stamping with metallic inks 31 

manufacturers. Dammar varnish is used to add a high 
luster to embossing inks. Special drier and varnishes 
should be purchased from the engraving-ink makers. 
It would not be a good plan to add foreign substances 
to inks other than drier and varnish, and in most cases 
the inks require no "doctoring." 

Feeding guides are formed of common pins, although 
there are patented gages which can be bought at the 
supply houses. For close-register work the guides must 
be set so that they will not sway or move in the least. 
When several colors are to be printed, it is important 
that the guides for each color strike the same posi- 
tions on the stock for each consecutive printing. 

STAMPING IN GOLD, SILVER OR BRONZE 

A heavy mixture of the gold, silver or bronze ink is 
used. The die is inked and wiped in the same manner 
as with black or colored inks. 

After the printed sheets are thoroughly dry, they 
are run through the press again in close register the 
steel die in this instance requiring no inking or wiping. 
This is called burnishing. The result will be even more 
brilliant if a strip of tinsel or copper foil is laid across 
the face of the die and held securely in place. The sec- 
ond "blank" impression, striking in the intaglio tinsel 
or foil, polishes the printed design beautifully. All 



32 Retouching and slip sheeting 

gold, silver and bronze stamping should have the bur- 
nishing, as otherwise the printing and embossing will 
be "sandy" and dull. This second stamping also makes 
the design work out more sharp and distinct. 

RETOUCHING IMPERFECT STAMPING 

Even with the most efficient operators, some sheets 
will be imperfectly printed, due to improper inking of 
the die. It is not a good practice to run such sheets 
through the press again. The better way is to "paint" 
in the broken lines with a small camel's-hair brush, 
using merely a touch of regular ink. 

The "painting" is not so difficult as it may seem, 
and through that method spoilage can be held down 
to the minimum. 

SUPSHEETING 

With few exceptions, all printing produced from 
copper plates, steel plates and steel dies should be slip- 
sheeted as the product comes from the presses. Slip- 
sheeting means the placing of blank sheets of common 
paper between every two printed sheets of stock to 
prevent the inked characters from marking on the back 
of the stock laid over it. Offset occurs on the slipsheets, 
of course, but this keeps the regular stock from mark- 
ing. Small piles of the slipsheeted work are laid away 



Operation of power presses 33 

in trays, or racks, to dry. When the printing is dry 
the slipsheets are removed, to be used again. 

SLIPSHEETING WITH TISSUE PAPER 

Before delivering to the customer, all plate printing 
and embossing is slipsheeted with white tissue paper. 
In large establishments this work is done in a separate 
department by experienced girls. The usual method is 
to lay a strip of tissue between the printed surfaces 
of two sheets of product, then place the backs of two 
printed sheets together without tissue between, and so 
on. This saves time as well as tissue. 

OPERATION OF POWER DIE AND PLATE PRESSES 

Power die and plate presses are in successful opera- 
tion in many of the larger engraving plants. Practi- 
cally the same classes of ordinary plate and die work 
can be done on the power machines as can be produced 
on the hand machines. However, the power presses will 
not take plates or dies larger than six by ten inches. 

The power presses are being used mainly for long 
runs of illuminated stationery, business cards and let- 
terheads, colored greeting cards, etc. They will pro- 
duce about one thousand impressions an hour. The ink- 
ing and wiping are done automatically, but all of the 
feeding is done by hand. These machines will handle 



34* Details of operation 

copper plates as well as steel plates and steel dies. It 
is understood, though, that the copper plates will not 
serve for a very large number of impressions. 

Make-ready on the power machines is done in much 
the same way as on the hand presses, except that very 
little patching is done on the backs of plates. Counters 
for steel dies are made like those for the hand emboss- 
ing presses. Steel plates for business cards, and steel 
dies for greeting cards (for example), can be run four 
(4) together on a sheet, the stock being cut apart 
afterwards. 

The edges of all plates and dies should be rounded 
so that the wiping paper will not tear when passing. 

The inking rollers and the fountain should be washed 
after the close of each day's work. If the color is al- 
lowed to cake on the rollers, it will be impossible to 
produce first-class presswork. 

A power machine should be carefully oiled every 
day, and it would not be amiss to oil it twice during a 
day — in the morning before starting, and after lunch. 

Through devoting study to the wiping apparatus, 
the pressman can save a great deal of wiping material, 
as some plates or dies will necessitate less wiping than 
others ; and experience will determine how to set the 
wiping mechanism for each job. 

In a like manner, careful attention should be paid to 



The power press 35 

the amount of ink to be used for each job, for it is 
possible to waste considerable ink on a power machine. 




Power die and plate press 

Excessive inking may not cause imperfect printing, as 
the superfluous color is carried away on the wiping 



36 Guides and inks 

paper, but this causes a wastage of both ink and wip- 
ing material. Set the fountain at the beginning of the 
run so that there will be a slight feed of ink, then grad- 
ually increase the flow until the supply is just sufficient. 

When stopping a press, it should be done so that 
the stop is made immediately after an impression has 
been taken, as this leaves the plate or die clear of color. 

Although common pins, adjustable gages and type 
quads are used for feeding guides, quads are prefer- 
able, as they can be glued down firmly. For close-reg- 
ister work they should be covered with gummed paper 
to prevent stock slipping under guides. 

Printing and embossing inks, both gloss and dull 
finish, are being especially made for power presses by 
engraving-ink manufacturers. It would be well to buy 
these inks ready for use rather than to have the colors 
mixed in the plant. Many operators mix their own gold, 
silver and bronzes for each order, but they find it more 
economical to use black and colored inks carried in 
stock from the ink specialists. 

Extremely deep steel dies cannot be run on power 
presses, for the reason that the ink must be deposited 
in the crevices by hand with the aid of a brush. 

It would not be economical to print very short runs 
on power presses, and plates larger than six by ten 
inches must be printed on "D"-roller plate presses. 








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Under the heading of commercial engraving and print- 
ing there are listed such articles as business cards, let- 
terheads, billheads, physicians' prescription blanks, 
announcements, certificates, advertising calendars and 
other work of a business nature. 

Articles listed under the head of social engraving 
include wedding invitations, marriage announcements, 
church, at-home and calling cards, guest, dance and 
dinner cards, birth announcements, greeting cards, 
betrothal cards, tea cards, private stationery, condo- 
lence acknowledgments, children's invitations, house- 
party invitations, bookplates, heraldry, etc. 

The style of engraving for wedding invitations may 
be either plain script, French script, shaded Old Eng- 
lish, or Astor Text. Plain script is preferred in most 
cases. When the wedding is to be a church affair, the 
invitation should be accompanied by a card of admis- 
sion to the church. With the invitation should also be 
inclosed the at-home card of the bride and groom, giv- 
ing the address of their future residence and the date 
after which they wish to receive friends. 

There are really no set rules for the sizes and paper 
38 





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40 Kinds of lettering 

stocks for calling cards, although a fine white bristol 
board, of medium weight, and with a dull finish, is the 
stock most generally used. The average size for a gen- 
tleman's personal card as used on the example shown 
here is 3%xll/2 inches. The sizes generally used for 
ladies' cards are larger, as will also be seen by the re- 
productions. 

Roman, script and Old English lettering are all 
fashionable types for visiting cards, and it is permis- 
sible for a person to select other styles of lettering. 

For other varieties of social engraving such as birth 
announcements, engagement announcements, dance, 
dinner and tea cards, invitations, etc., plain script, 
French script, roman and Old English letterings are 
all being used. (See frontispiece.) 

Business cards and business stationery are being 
engraved in many styles of lettering. Plain faces such 
as roman, gothic and plain script, however, are used 
more for business purposes because such faces are 
easier to read than intricate lettering like Old English. 

For personal note paper, writing cards and enve- 
lopes, it is the custom for the buyer to choose his or 
her own exclusive style of monogram design. The dc 
sign should be distinctive, yet simple and beautiful. 
The stamping may be done in black or any standard 
color, or in gold, silver or bronze. Expensive crests 



WtsMUUm-toSiUto 



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42 Good taste and common sense 

and monograms are illuminated in a number of har- 
monious colors. Stock dies may be used with good 
effects for many orders of monogramed stationery. 

Gilt-edged stationery is being used in connection 
with monograms to some extent, also stationery with 
borders of delicate tints ; but it goes without saying 
that plain white note paper of the highest quality will 
always be in vogue. 

For wedding invitations, announcements, etc., the 
embossed flat panel effect (no color) is popular. The 
engraved form is centered in the panel, and liberal 
margin is allowed. 

After all has been said on the subject, the phrase 
"correct forms of social and commercial engraving" 
simply means good taste and common sense. 



s. 



ilinq 



To sell the engraved product under the most favor- 
able circumstances, the printer should have a neat, 
comfortable salesroom. Herein should be arranged 
glass cases containing specimens of social and busi- 
ness engraving, and the general furnishings should be 
in good taste. Upon the walls should be hung frames 
exhibiting fine samples of larger work such as school 
and college diplomas, certificates, bonds, etc. Even 
though the printer seldom receives orders for such 
things, it would be well to show specimens of them, as 
exhibits of this class add a "quality atmosphere" to 
the place. It is also a good idea to show attractive 
samples of heraldic designs, monograms, crests, menu 
headings, bookplates, calendar backs, business sta- 
tionery, etc. Displays of rich illuminated work add 
touches of color and enhance the beauty of the sales- 
room. Keep all specimens under glass, not only for the 
purpose of keeping them clean, but also to indicate to 
customers that you consider your work valuable 
enough to care for it in that way. 

Buyers of the best engraved product include many 
members of the "smart set" — persons who are accus- 
44 



The salesroom 45 

tomed to the nice things of life ; therefore the printer 
should have his salesroom furnished artistically. It 
need not be a large room, and it need not be fitted out 
expensively, but every article in it should be good. 
There should be several comfortable chairs ; a writing 
table for the use of visitors ; a table for order-taking ; 
and the floor should be covered with a rug of fair qual- 
ity. Additions like an umbrella rack, a big clock, etc., 
are worth while. The papering of the room should be 
done in plain material of gray-green or gray-brown. 
Either color will set off the hangings and furniture to 
excellent advantage. 

In such an environment it is possible to influence the 
sale of more goods than in surroundings less pleasing. 
It should be remembered that the public is in the habit 
of going personally to the engraver to place orders 
much in the manner as a person would go to the pho- 
tographic studio or painter's studio for portraits. The 
dignity of the business should not be lowered by hav- 
ing a mean, commonplace salesroom. In any business 
it pays to receive visitors politely, and to make them 
feel welcome and comfortable. Do not allow the buyer 
of engraving to stand, perhaps for an hour, while giv- 
ing an intricate order. Give him or her an easy seat. 
Give service, and adjust your prices so as to cover the 
cost of giving good service. 



46 The salesman's work 

With the caller comfortably seated, there is oppor- 
tunity for the live salesman to "talk up" the qualities 
of engraved specialties other than those the customer 
came to order. There is chance to suggest that an in- 
dividual bookplate, or a personal monogram die (for 
example) , would be an excellent thing for the customer 
to own in addition to a copper plate for visiting cards. 
This is the way to create new business while the cus- 
tomer is in a receptive mood. 

The salesman of engraving should thoroughly study 
the practical side of the art. It is not essential that he 
be an expert engraver, but certainly he should know 
how the technical details of the business are handled, 
and he should be able to explain technical matters to 
the customer, if called upon to do so. For instance, a 
layman may want to know the difference between an 
engraved plate and a lithographic stone, or he may de- 
sire to understand how a plate for a bank note is made, 
etc. All of this kind of information the salesman should 
be able to give in a clear, understandable manner. 

Whenever possible the salesman should explain to 
customers the many reasons why the engraved prod- 
uct is seemingly costly. Explain how carefully the en- 
graving must be done ; how expertly the plate inking, 
wiping and polishing must be performed ; and how 
ever}- piece of printing must be slipsheeted. Give some 



Showing specimens 47 

idea as to the great amount of time the engraver must 
devote to the cutting of a steel die. Always show speci- 
mens of the fine work first, then, if necessary, descend 
gradually to the ordinary samples. Always talk qual- 
ity, and keep the buyer's mind concentrated upon the 
quality idea. Never advocate low prices. 

On occasions when the printer is executing particu- 
larly fine work, overruns should be made of the jobs to 
be used as specimens. Present such specimens to cer- 
tain customers who may have expressed their appre- 
ciation of art in engraving. Such gifts will frequently 
lead up to profitable business. Fine samples cost money, 
but they are the engraver's most economical and most 
effective "salesmen." 

A printer located on the ground floor of a building 
which has show windows is of course in a better posi- 
tion to sell engraved work to the public in general than 
is the printer otherwise situated. The show windows 
should be trimmed attractively with specimens of the 
best engraved product, and there should be frequent 
changes in the display. During one month could be 
shown an exclusive exhibit of illuminated work. Dur- 
ing another month a display of business stationery 
could be made. Fine social-work specimens, such as 
wedding invitations, dance, dinner and tea cards, an- 
nouncements, etc., could comprise another distinctive 



48 Industrial exhibits 

showing. Greeting cards could form another, and so 
on. It would not be advisable to exhibit all classes of 
plate printing and die stamping at one time. The mod- 
ern idea in window trimming is to demonstrate one 
specialty at a time. 

Where the engraver is located on the upper floors of 
a building, he should arrange to have specimens of his 
work framed and hung in the entry way. It might also 
be practicable in many instances to have a showcase, 
containing samples, set out on the sidewalk. 

"Industrial exhibits" should prove to be a good form 
of advertising for printer-engravers having large show 
windows. For a period an expert works in the window 
engraving steel and copper plates before the eye of 
the public. This exhibit is followed by one demonstrat- 
ing presswork. A "D"-roller press or a stamping press 
is installed in the window, and the public can thus see 
exactly how the plate printing or embossing is done. 
"Industrial exhibits" of this character attract very 
wide attention, and are of educational value to the peo- 
ple. That such exhibits are the means of winning many 
new customers for the engraver is evident. The public 
is always interested in an out-of-the-ordinary window 
attraction, and folks will travel from a distance to see 
an engraver at work or a plate press in operation. 

The printer should make it a practice to take the 



Newspaper advertising 49 

address of every person who calls to order engraving. 
In this way a substantial mailing list of patrons is 
compiled. At intervals advertising matter concerning 
engraving specialties should be mailed to all persons 
on the list. Through this method the printer keeps in 
touch with his customers, and numerous repeat orders, 
as well as new orders, are gained. 

Many engravers are using newspaper display ad- 
vertising with good results. It would be poor business 
policy to offer cut-rate prices in newspaper advertis- 
ing, however, for the class of people using the engraved 
product is interested more in quality than in "bar- 
gains." Engravers in all of their publicity should talk 
about the excellence of their work. Mention the fact 
that refined men and women use first-grade engraving. 
Remark also that fine social engraving is as important 
in polite circles as correct dress. This is judicious ad- 
vertising, and it will bring profitable returns to the 
advertiser. 

If prices are quoted, let them be fair prices, and not 
so low as to eliminate profits. 

Large engraving firms, doing a national mail-order 
business, have derived good results through advertis- 
ing in the classified columns of the popular magazines. 

Certainly the engraver should keep his name and 
business before the public eye as constantly as other 



50 The right kind of publicity 

successful business men in other lines are doing. Ju- 
dicious advertising has aided all of the larger engrav- 
ing concerns in gaining many new customers, and the 
right kind of publicity will also help the smaller en- 
gravers to build up business. 



jtti 



Sliced 

The costs and retail selling prices of engraving and 
printing vary somewhat in every city. The reasons for 
this are that materials and labor cost more in some 
sections than in others. Thus, the best that can be done 
in this article is to quote the average costs and retail 
prices in force in the larger cities. Every employing 
engraver should have an efficient cost system, which 
will indicate what the cost of his production is pre- 
cisely. Everything should be charged for at a rate 
bearing a fair margin of profit. For example, do not 
let the customer have the stock at actual cost, as many 
printers and engravers do. Charge, say, twenty-five 
per cent additional for handling the stock. This is 
worth at least twenty-five per cent, as at first your 
money is invested in the stock ; then it costs something 
to have the stock counted, carried, wrapped and de- 
livered. Consider, further, that the paper stock used in 
the engraving art is usually of the finest quality, and 
of a nature which will soil easily, thus requiring more 
careful handling than common stock. To this should 
of course be added profit on the stock of, say, twenty- 
five per cent on small orders, as the amount is nominal. 

51 



52 The cost of engraving 

In an interesting article in the Engravers' Bulletin, 
Alfred E. Vose writes concerning costs : 

Reports from twenty-five firms show that the average hour 
cost of the journeyman engraver's time, including overhead ex- 
pense and metal used, is $1.15. This would be divided about as 
follows : Wages, 70 cents ; overhead, 25 cents ; and metal, 20 cents. 
The output per hour on card and wedding work was shown to 
be as follows: Script, 62 letters; Gothic (or block), 31 letters; 
Black Old English, 26 letters; Roman, 22 letters; Shaded Old 
English, 19 letters; Shaded Roman, 15 letters. In order to realize 
$1.50 per hour, which was conceded to be a fair trade price, it 
would be necessary to make the following charges per letter: 
Script, 2y 2 cents; Gothic (or block), 5 cents; Black Old Eng- 
lish, 6 cents ; Black Roman, 7 cents ; Shaded Old English, 8 cents ; 
Shaded Roman, 10 cents. The average one-line calling-card plate 
contains eighteen letters and using the above basis would be 
worth, in Script, 45 cents; Gothic (or block), 90 cents; Black 
Old English, $1.08; Black Roman, $1.26; Shaded Old English, 
$1.44; Shaded Roman, $1.80. Wedding plates average twenty- 
two letters per line, which would cost, in Script, 55 cents ; Gothic 
(or block), $1.10; Black Old English, $1.32; Black Roman, $1.54; 
Shaded Old English, $1.76; and Shaded Roman, $2.20. 

There has been a strong movement among the engravers for 
several years to change the standard of charging from the line 
to the letter basis. You will realize the justice of this more fully 
if you will stop to consider that some name plates have less than 
ten letters, while others run up in the vicinity of thirty. A five- 
line business plate in one case may have fifty letters, and in an- 
other over one hundred. We feel positive if the letter basis were 
once adopted it would prove very satisfactory. 

Cutting on steel plates or dies naturally requires quite a little 
more time than on copper and is worth proportionately more. It 
must also be kept in mind that the costs given are based on the 



Plate printing a slow process 53 

full time of forty-eight hours per week, and any lost time would 
make more or less of an increase. 

Plate printing is a slow process, and the output is limited. A 
man with a feeder can turn out from twelve to fifteen hundred 
cards per day. The average hour cost in this department is about 
seventy-eight cents. This would make the cost of printing one 
hundred cards forty-two cents; adding the stock to this would 
make the net cost about fifty-two cents. The prevailing price to 
the trade is approximately sixty-five cents. There is an extra 
cost of five cents for omitting a line or where the card overlaps 
one end of the plate; ten cents extra where two sides or ends 
overlap. An extra charge is also made for printing in any color 
except black, and is determined by the amount of time required. 
Business cards require a little longer time in printing and cost 
about ten cents per hundred more. Wedding sheets and cards 
require still longer time, and the cost goes up in proportion to 
the size. 

In the hand-stamping department the hour cost will average 
fifty cents. The time required to set up an ordinary monogram or 
address die and stamp one quire in color is twenty minutes, and 
costs seventeen cents. The set up and stamping of five quires 
would take about one hour and cost fifty cents. The average 
daily output of an operator is from forty to fifty quires. These 
figures show the fallacy of stamping single quires at seven and 
eight cents, and making the customer a present of ten cents, in 
addition to the labor. Bronze and illuminated work all take extra 
time, and the price should be based on the hour cost. 

Power stamping has developed and increased wonderfully in 
the past ten years. The presses have been perfected, and almost 
any design up to five by eight inches can be handled satisfac- 
torily. The hour cost in this department is from $1.35 to $1.50 for 
small, and $1.75 to $2 for large presses. The time required in 
setting up a small die and getting the press ready to run is about 
one hour; the larger dies require from one and one-half to two 



54 Retail prices of visiting cards 

hours. This fact would explain the seemingly high price for small 
quantities, as this entire make-ready time must be included in 
a one-thousand run, while it is spread out pretty thin in a run 
of ten to twenty thousand. The ink and wiping paper used on a 
small die do not cost a great deal, while a full letterhead die 
will usually average over one pound of ink for each thousand 
sheets. The scale of prices for this class of work is based first on 
the size of the die, and second on the quantity. The trade price 
for running a small die not over one by three inches is three dol- 
lars ; this increases through the different sizes up to a full letter- 
head die, which is $4.50. A ten-thousand run figures two dollars 
per thousand for the smaller size and three dollars per thousand 
for the larger. These presses run at a speed of one thousand to 
fifteen hundred impressions per hour, but the average net pro- 
duction would not be over five to six thousand impressions per 
day. 

RETAIL PRICES OF VISITING CARDS 

A large Eastern engraving establishment enjoying 

the reputation of being engravers and printers for 

persons of prominence in the social set, quotes retail 

prices for visiting cards as follows : 

Engraving 

Astor Text, one line, not exceeding fifteen letters . . . $3.00 

Engraving each extra letter 15 

Engraving (Script) calling plates, name only . . . . 1.00 

Mr. and Mrs. (Script) plate, name only 1.50 

Address or day, per line 50 

Engraving facsimile autograph 1.50 

Gothic (or block) letter plate, name only 1.50 

Address or day, per line 1.00 

Roman-letter plate, name only 2.00 

Address or day, per line 1.25 



Prices of visiting cards 55 

Engraving (continued) 

Black Old English plate, name only $2.50 

Address or day, per line 1.50 

Shaded Old English plate, name only 3.00 

Address or day, per line 2.00 

Shaded Roman plate, name only 3.00 

Address or day, per line 2.00 

Black French plate, name only 3.00 

Address or day, per line 2.00 

Shaded French plate, name only 3.50 

Address or day, per line 2.50 

Erasing address, per line 25 

Adding address, per line (Script) 50 

Adding address, per line (Gothic, or block) . . . . 1.00 

Adding address, per line (Roman) 1.25 

Adding address, per line (Black Old English) . . . . 1.50 

Adding address, per line (Shaded Old English) . . . 2.00 

Adding address, per line (Shaded Roman) 2.00 

RETAIL PRICES OF WEDDING INVITATIONS 
Printing 

Printing cards from plate, pack of fifty $0.75 

Printing cards from plate, pack of one hundred . . . 1.00 

The engraving concern we have referred to quotes 
prices for one hundred wedding invitations, with two 
sets of envelopes, engraved in plain script, from $14* 
to $16, according to number of lines engraved ; $4.75 
for each additional hundred ; $1 per hundred extra for 
panel effect. 

Prices for invitations in other letterings, such as 
Astor Text, Black Old English, Shaded Old English, 



56 Commercial work 

etc., would cost, of course, considerably higher. The 
prices would be based on the cost of cutting each line 
or letter. 

Prices to be charged for other varieties of social 
engraving such as announcements, church cards, at- 
home cards, etc., should be based on the cost of letter 
cutting, the stock, the presswork, and general expense 
items. It will be necessary to charge a higher rate for 
steel-plate engraving than for copper-plate engraving. 

PRICES FOR COMMERCIAL WORK 

There are great variations in the costs of cutting 
steel plates and steel dies for general commercial en- 
graving. For example, it may cost twenty-five dollars 
to engrave one plate, and to cut an intricate plate, con- 
taining much shading, may cost several hundred dol- 
lars. It is difficult to give estimates on such work, and 
the safest plan would be to charge the customer for the 
actual time involved after the plate has been completed. 
Many of the larger engraving concerns follow this sys- 
tem so far as intricate work is concerned. 

GENERAL PRICES FOR ENGRAVING (ONLY) 
Business Cards 

Script, center lines $0.50 

Script, corner lines .35 

Gothic (or block) per letter, .06 up 



Prices for engraving 57 

Business cards (continued) 
Black Roman and Old English . . . per letter, $0.08 up 

French Script " .09 " 

Shaded Old English and Roman ... " . 14 " 

Shaded French Script " .14 " 

Erasures, center lines 50 

Erasures, corner lines 25 

Business Announcements 

Script, center lines $0.60 up 

Script, paragraph lines 70 " 

Gothic (or block) per letter, .07 " 

Roman and Old English " .10 " 

Shaded letters " .15 " 

Steel Plates 

Script 100 per cent above copper prices 

Lettering 50 per cent above copper prices 

Plus cost of steel to above prices 

Business Dies 
Charge for steel extra over size 1x3 

Script per letter, $0.06 up 

Gothic (or block) " .06 " 

Roman " .08 " 

Shaded letters " .20 " 

Address dies, same price as above of like size and text. 
Monogram dies, one dollar and upwards according to design. 

PRICES OF PRINTING (ONLY) FROM PLATES 

Wedding Invitations, Etc. 

100 invitations or announcements $1.00 $3.85 

100 reception cards . . . .70 1.45 

100 at-home cards .70 1.45 

100 church or train 60 1.20 



.55 .70 

.60 .80 
.60 .80 
.65 
.75 



58 Prices for printing 

Visiting and Business Cards including stock 

50 visiting cards $0.30 $0.40 

100 visiting cards 

100 with over two names 

100 business cards, size not exceeding 2y 2 x4 3-16 
100 business cards, size not exceeding 3x4% . 
100 business cards, size not exceeding Sy 2 x5 3-16 

Mourning Border 

50 visiting cards $0.25 $0.65 

100 visiting cards 50 1.10 

Quantities of above less than 50 charged for as same 

Commercial 

Letterheads per 100, 

Letterheads (extra large) 

Noteheads 

Billheads 

Professional statements 

Business statements 

Business circulars 

Envelopes 

School commencements 

Business announcement cards 

Club or society invitations 

Paneling printed work 50c. per 100 extra 

Color work, first 500 or under 30c. per 100 extra 

Color work, more than 500 25c. per 100 extra 

Printing quantities of above less than 100 will be charged for 
as same. 

Folding, Inserting, etc. 

Wedding invitations per 100, $0.25 

With cards " 100, .30 

Tying birth cards, per 100, with ribbon, in bow knot . . 2.00 
Padding, 100 sheets to pad 10 



100, 


$0.60 up 


100, 


.75 " 


100, 


.60 " 


100, 


.80 " 


100, 


.90 " 


100, 


.60 to .75 


100, 


.90 up 


100, 


.60 


100, 


.90 


100, 


.75 up 


100, 


.85 " 



Hand-press embossing 59 

Postage 
(added to all card orders sent by mail) 

Plate and 50 cards cost $0.05 

Plate and 100 cards cost 10 

PRICES OF HAND-PRESS EMBOSSING 

Color 

1 or 2 quires per quire, $0.10 

3 to 5 quires " .08 

10 quires " .07 

500 1.25 

1,000 2.00 

Bronze 

1 to 20 quires per quire, $0.18 

1,000 6.00 

Stamping Business Cards 

100 to 400 per 100, $0.50 

500 to 900 " 100, .40 

1,000 and over "1,000, 3.50 

Representative's name in corner " 100, .40 

Legal backs " 100, .60 

Legal backs " 250, 1.00 

Illuminating 

Backgrounds per quire, $0.40 up 

1-letter " .50 " 

2-letter " .65 " 

3-letter " .80 " 

All sketches ani proofs charged at cost 



J mita tioriA 



The typographical printer having a well-organized 
plant can produce fairly effective imitations of en- 
graving, plate printing, and embossing with the aid of 
the essential materials. By this it is not meant that the 
imitation work will be as good as real engraved prod- 
uct, for there is no letterpress process by which the 
exquisite art of the engraver and plate printer can be 
duplicated ; but, by careful manipulation of type, color 
and presswork, a close imitation of plate printing and 
stamping can be executed. 

First, type-faces must be selected which are much 
like the lettering cut by engravers on steel and copper 
plates. Type-faces such as Black Old English, Shaded 
Old English, Engravers' Roman, Light Gothic, Heavy 
Gothic, Plate Gothic, Script, French Script, etc., imi- 
tate the handwork of the engraver nicely so far as the 
design is concerned. Of course, the type characters 
are too regular to make an exact duplication of hand 
lettering, but that is a defect which cannot be avoided. 

Second, the type forms should be set up in such a 
manner that they will resemble the formation of hand 
lettering done on a steel or copper plate. The average 
60 



Details of typographic printing 61 

engraver spaces words a little closer than does the 
average typographer. In engraving, there is never ex- 
tra space between capitals like AV, WAT, etc. ; thus 
in type composition such white space should be elimi- 
nated through mitering the offending characters. 

Third, good printing ink of a heavy body should be 
used, and the color must be run full. Any color of ink 
may be used as desired. The color may be either of high 
gloss or of dull finish, as preferred. To obtain a bril- 
liant gloss, mix a little dammar varnish and a few 
drops of turpentine with the ink. To get the dull finish, 
simply add dry color (blue for black, blue or green 
ink ; red to red ink) and mix thoroughly until all of the 
powder has been absorbed. 

Fourth, the press make-ready must be done excep- 
tionally well. After all light places have been carefully 
"spotted up" with tissue paper, and after the impres- 
sion is even, with no "hills and hollows" showing on the 
back of the printed sheet, the pressboard (which should 
be extra heavy) is covered over the make-ready. Only 
one top sheet of manila is drawn over the pressboard, 
and as a result of this method the make-ready is "hard" 
and absolutely smooth on the surface. If it is neces- 
sary, add a few tympan sheets, placing them under the 
pressboard. If built up accurately, this make-ready 
will result in all of the type matter printing on the 



62 Imitating die stamping 

stock perfectly, and no impression will be visible on 
back of the stock after it is printed. 

Adjust the gudgeons of the inking rollers so that 
the rollers will pass lightly over the form. If there are 
not gudgeons of various sizes in the plant, glue strips 
of tough cardboard to the runners of the press. Build 
up the strips until the rollers have been raised enough 
to accomplish the desired purpose. Run a full flow of 
color — as much as the form will take without the let- 
ters "filling up" — and at intervals wash out the form 
with brush and benzine. 

For ordinary plate-printing effect, dull-finished ink, 
used in the manner mentioned, will give the best imita- 
tion of engraving which can be obtained. 

To imitate further steel-die stamping, an embossing 
plate and a second impression (without color) will be 
necessary. Glossy ink should be used, run very full. 
The feeding must be accurate so as to maintain per- 
fect register, as otherwise the effort will be a failure. 
An embossing die of zinc will serve this purpose. For 
making the die, print a reverse impression of the form 
to be embossed in good black ink. Send this print to a 
photo-engraver, who will make a zinc die from the 
proof. 

It is also possible to give the steel-plate effect to 
shaded photo-engravings such as are often used for 



Types and make-ready 63 

printing business letterheads, billheads, cards, certifi- 
cates, etc. For work of this class smooth-finished bond 
and writing papers should be utilized instead of papers 
with rough surfaces. Mix a small portion of dry color 
with a good quality of regular printing ink, and make- 
ready as for a halftone or a line plate in ordinary 
work; that is, cut overlays so that all solid places in 
the plate will receive extra impression, then cut out all 
highlights so that they will have less impression than 
other portions. 

Cover the make-ready with a heavy pressboard. 
Adjust the inking rollers so that they will not squeeze 
into the intaglio places of the plate. Run a full color, 
and during the printing of the work wash out the plate 
frequently. 

With persistent study and practice the typographi- 
cal printer will soon be able to produce some creditable 
imitations of plate printing and stamping. With type- 
faces such as Engravers' Old English, Plate Text, En- 
gravers' Roman, etc., carefully printed on kid-finished 
stock in full color of dull-finished ink, the results will 
be gratifying. 

Imitation of engraved work should be executed only 
for that class of customers who are not willing to pay 
the necessary higher prices for genuine engraving. 
From the engraver's viewpoint, the highest quality 



64 Close imitations 

of printing is that produced from steel plates, copper 
plates and steel dies. To imitate steel and copperplate 
work exactly is impossible. 

THE BAKING PROCESS 

This is a typographic process through which plate 
printing and die stamping can be imitated to a re- 
markable degree. The work is set in type and printed, 
and the freshly printed sheets are powdered with rosin 
or a patented chemical. By passing the sheets over a 
flame the powdered print is baked and made to rise on 
the surface with an embossed result. A special pat- 
ented machine should be used for this process. 



r/K-u>celu 



CU14201US 



It is recommended by the National Association of 
Steel- and Copper-Plate Engravers that the engraver 
or printer retain all plates and dies as his property, 
the same as lithographers retain the stones which they 
work from. This may be a good plan when the cus- 
tomer does not insist on having his plate or die re- 
turned ; for the engraver or printer, through retaining 
the plate or die, is in a better position to receive and 
fill repeat orders from the patron. 

WATEll-COLORING EMBOSSED DESIGNS 

Illuminated headings for menus, stationery, etc., are 
frequentl} T printed and embossed in only a single color 
(black or gray), and afterwards the illuminating is 
done by painting over the design in various tints of 
water colors. Where there is to be a number of delicate 
colors, this procedure is more economical than if sep- 
arate dies are cut and each color printed on the press. 

The water-coloring is done by experienced persons 
specially trained in such work, although the art is not 
difficult, there being distinct outlines to follow. 

Various colors are also applied to plate-printed and 

65 



66 Process engraving on steel 

embossed subjects by means of an air brush. Some- 
times simply a background of light tints is deposited. 
In other cases registered color work is done with the 
air brush through the aid of cutouts, or "friskets." 

PROCESS ENGRAVING ON STEEL 

Process engraving on steel is a recent discovery. 
Louis F. Bockmann of Chicago, 111., being one of the 
pioneers in developing this art. 

This process is somewhat like that of three- or four- 
color-process halftone printing. The three engraved 
plates are made from one negative, the colors being 
separated by the stopping-out method, and by a care- 
ful manipulation of the acid in biting. Expert hand 
engraving is essential, however, in finishing the plates, 
and some of the work is also done on a ruling machine. 

Beautiful pictorial subjects can be reproduced by 
means of the three-color-process steel engraving, and 
the finished product is superior to process letterpress 
printing for obvious reasons. 

STOCK BLANKS WITH ENGRAVED BORDERS 

From well-known dealers the printer or stationer 
can purchase, when needed, stock blanks with beauti- 
fully engraved borders for orders of bonds, certificates 
of award, stock certificates, diplomas, cards, member- 



Stock blanks and large orders 67 

ship certificates, charters, etc. The stock blanks may 
be had with various colors of borders. 

SECURING ASSISTANCE ON LARGE ORDERS 

For large orders of plate printing and illuminated 
embossing, the smaller engraver not having power 
presses can secure the assistance of the larger firms 
operating such machines. The smaller engraver makes 
his own plates or dies, but has the presswork done out- 
side on the power presses on a trade arrangement as 
to cost. For instance, it would pay the smaller printer 
to send out presswork orders like fifteen thousand let- 
terheads, ten thousand menu headings in colors, twenty 
thousand greeting cards, etc. 

It is understood that a large engraving concern will 
handle a large order entirely for the smaller engraver. 

The smaller printer should not attempt to handle 
any order which would be too large for his facilities. 
A very large run would tie up the plant, and would 
hold back the regular work. 

THE TRADE ENGRAVER 

It is advisable for the smaller engraving and print- 
ing concerns to have certain plates and dies, which 
they are not in a position to handle profitably, made 
by efficient trade engravers, but such work should go 



68 Engraving for the trade 

to "legitimate" trade engravers who charge fair prices. 

The cut-rate trade engraver is considered an evil to 
the industr}^ in general, mainly for the reason that he 
makes possible the cut-price retailer of engraved prod- 
ucts. The buying public is after good work and not 
low prices, so far as the engraving line is concerned, 
and there is no excuse for the price cutter in the field. 

All of the larger engraving establishments will ac- 
cept orders for special plates and dies, sketches, etc., 
from the smaller engraving concerns at trade prices. 
The larger houses are equipped to produce the finest 
quality of work. 

In the beginning, it will be well for the owner of a 
new engraving plant to secure the cooperation of the 
larger concerns in the making of plates and dies which 
are out of the ordinary class. Gradually the mechan- 
ical facilities of the shop can be increased so that in 
due course of time every plate and die ordered can be 
produced hi the plant without difficulty. 



LIBRARY OF CONGRESS 



006 639 127 9 



